Reseña del editor
The Dutch Golden Age of painting spawned some of history's greatest artists and artisans, but few can boast the genius and legacy of Rembrandt Harmensz. van Rijn (1606-1669). Despite never leaving his native Netherlands, Rembrandt projected his oeuvre past the boundaries of his own experience, producing some of art's most diverse and impactful works across portraiture, biblical, allegorical, landscape, and genre scenes. In all their forms, Rembrandt's paintings are built of intricacies--the totality of each subtle facial wrinkle, gaze, or figure amounting to an emotional force that stands unmatched among his contemporaries and artistic progeny alike.
Each work is imbued with feeling. Biblical scenes, like Bathsheba at her Bath, become vehicles for meditations on human longing, probing depths beyond that which is canonized in scripture or depicted in other representations. His portraits, be them of wealthy patrons or tradesmen, communicate the essence of an individual through fine demarcations, their faces bathed in an ethereal light against darkened earthtones. Perhaps most striking, his series of self-portraits is a triumph of the medium; beginning in his youth and spanning until a year prior to his death, Rembrandt's self portraiture is an intimate glimpse into his lifelong process of self-reflection.
On the occasion of the 350th anniversary of the artist's death, this XXL monograph compiles all 330 of Rembrandt's paintings in stunning reproductions. From Belshazzar's Feast to The Anatomy Lesson of Dr. Nicolaes Tulp, we discover Rembrandt's painted oeuvre like never before.
Críticas
“Rembrandt pintó las caras mejor que nadie antes y después de él. Podía ver los detalles que conforman el rostro de un individuo y aquello que nos hace diferentes”. — David Hockney
Biografía del autor
Sobre los autores: Volker Manuth studied art history, philosophy and classical archaeology in Kiel, Bonn and Berlin. In 1987 Ph.D. at the Freie Universität Berlin with a thesis on the iconography of Old Testament stories in Rembrandt and his early Amsterdam School. From 1988 to 1995 Research Assistant at the F.U. Berlin. From 1995 to 2003 Professor of Art History (A. Bader Chair of Northern Renaissance and Baroque Art) at Queen’s University, Kingston, Ontario (Canada). Since 2003 Professor of Art History at Radboud University in Nijmegen (Netherlands). Marieke de Winkel estudió Historia del Arte y Arqueología Clásica en Ámsterdam (graduada en 1993) e Historia del Traje en el Instituto de Arte Courtauld de Londres (graduada en 1995). Entre 1993 y 2003 fue investigadora asistente en el Rembrandt Research Project. En 2003 se doctoró por la Universidad de Ámsterdam con una tesis sobre la vestimenta en las obras de Rembrandt. Rudie van Leeuwen estudió Historia del Arte en la Universidad de Radboud en Nijmegen (graduado en 2005). Recientemente ha presentado su tesis doctoral sobre historia del retrato en la pintura holandesa de los siglos XVI y XVII. Junto a V. Manuth puso en marcha y trabajó en el Rembrand Documents Project (RemDoc.org). Estuvo encargado, entre otras cosas, de la concepción y puesta en marcha de la función integral de búsqueda.
